Mila Aguilar is still Clarita Roja, but her pigeons now search the sky. - Bienvenido Lumbera, Ramon Magsaysay Awardee for Literature
First, said Jose Garcia Villa, a poem must be magical. These poems are not just magical. They are magic itself. Last, said Villa, God should smile from the poem’s cover. God not only smiles from the covers of these poems, but roars with laugh¬ter, the laughter of the just and the good. - Isagani Cruz, Renowned Filipino critic
Her poems, including those she wrote while in prison, became some of the most popular lyric poems of the martial law period. She continues in her advocacy of the myriad issues of social change.... What she has added to this assertive and lyrical voice is a novel earnestness to explore [the] need [for] a certain blessedness in our search for peace with ourselves and with others. - Lilia Quindoza-Santiago, Critic of Philippine literature by women
Ang Album ng Kabalbalan ni Kenkoy ni Tony Velasquez ang kauna-unahang aklatkomiks na inilathala sa bansang Pilipinas. Ang "Album" na ito, na mula sa mga tinipong labas ng mga sinaunang serye ng Kenkoy "strip" sa Liwayway noong mga taong 1929-34, ay ipinasya ni Ginoong Velasquez na isaaklat noong 1934. Inilathala muli ng Rarekomiks, Inc. 2004.
KOMENTULARYOS: Usapang Makatas by Tomas F. Agulto
“Tomas F. Agulto
actively participates and strives to lead a revaluation of the work of Balagtas.
“Only very few writers
of the rural life know grassroots culture, folk wisdom and values, especially in their
progressive expressions and manifestahons, that will always be part of our
nationalist and transformative project. I think it is time that we shift our
emphasis from the traditional intellectuals of the academe to the generic,
mostly self-taught writers and intellectuals who may have deeper insights to
share on Philippine life.” –Alice G. Guillermo, Ph.D., Professor Emeritus,
University of the Philippines
"Panitikang iglap" na tulad ng mga naunang politikal na may-layon na akda, mabilisan at napapanahong naisusulat at nalalathala. Lumalangoy palaban sa agos, nagpipiga ng kalamansi sa sugat, nagsusulat para hindi masabing ang lahat ay mahimbing na natulog sa aligagang magdamag, O pagpapahele ito sa nakumbinsing sarili na 'OK, fine, whatever.'
Paano nga ba natutulog at gumigising ang mga zombie, na patay na ang katawan at sunod-nunuran sa fasista at fasyonista? Laban sa paano ba magsasaad ng pagtutol, na hindi katanggap-tanggap ang piging sa panahong naghihikahos ang nakararami gayong sa kanilang mga likod nanggaling ang mga pondong nakurakot para sa pagdaraos ng piging na hindi naman sila kasama? Sa mga manunulat sa kalipunang ito, ang purposibong pagsulat ang naglilinya ng pagtutol.
At kahit sa isang iglap, kolektibong nagsaad ng tinig ang mga manunulat-mamamayan ng hindi ito ang lipunang nais pamuhayan, at ang kanilang aspirasyong mabago ito tungo sa mas malaya at mapagpalayang bansa at panitikan."
- ROLAND TOLENTINO, Ph.D.
Kritiko-Manunulat
Dean, College of Mass Communication, Associate Professor, UP Institute for Creative Writing
"Under the Storm" is a compilation of 150 poems from an eclectic mix of 150 Filipino poets: from the renowned and the known to the upcoming and the knowable. It explores the topography of the phenomenal, social, and lingual developments in contemporary Philippine poetry. This is not simply a gathering of the intelligent. It is a harvesting of works by the willing and the devoted to the labor of crafting, the human turn, and the myriad possibilities of language.
Leon Ma. Guerrero (1915-1982) is one of the most extraordinary diplomats of his era. He wrote "The First Filipino". The acclaimed biography of Jose Rizal. And he translated the most widely read editions of his novels. On retirement, he was given the country's highest foreign service honor: one of only three people ever to receive the award.
"For centuries we Filipinos have been last in out country. Now we mean to be first. For centuries we have not known the worth of our own patrimony, the measure of our own capabilities.
Now we are resolved to putting them to the test. This is a challenge we face in pure self-respect, in pure self-preservation without prejudice or hatred, with respect and consideration for all, including ourselves."
Kasalukuyang emeritus propesor ng English, Comparative Literature, at Ethnic Studies sa ilang unibersidad sa U.S., si E. SAN JUAN, Jr. kamakailan ay nahirang na Fellow ng W.E.B. Du Bois Institute, Harvard University; Fulbright professor of American Studies sa Leuven University, Belgium; at fellow ng Rockefeller Study Center sa Bellagio, Italya. Ang pinakahuling libro niya ay Critique and Social Transformation: Learning from Gramsci, Bakhtin and Raymond Williams (Edwin Mellen Press); Critical Interventions: From Ibsen and Joyce to C.S. Peirce and Maxine Hong Kingston (Lambert Academic Publishing, Saarbrucken, Germany); Balikbayang Sinta: An E. San Juan Reader(Ateneo U Press); at Sisa’s Vengeance: Rizal / Woman / Revolution (LuLu.com). Naging taga-panayam siya nitong Marso 2012 sa Ateneo de Manila University at De La Salle University, Manila, Philippines, tungkol sa semiotika ni C.S. Peirce at ang kabuluhan nito sa estetika, humanistikong pag-aaral at agham panlipunan.
Tungkol sa Orihinal na Akda:
"The Tao Te Ching is a Chinese classic text. According to tradition, it was written around the 6th century BC by the sage Laozi (or Lao Tzu, "Old Master"), a record-keeper at the Zhou Dynasty court. The text's true authorship and date of composition or compilation are still debated, although the oldest excavated text dates back to the late 4th century BC.
The text is fundamental to the Philosophical Taoism and strongly influenced other schools, such as Legalism and Neo-Confucianism. This ancient book is also central in Chinese religion, not only for Religious Taoism but Chinese Buddhism, which when first introduced into China was largely interpreted through the use of Daoist words and concepts. Its influence has also spread widely outside East Asia, and is amongst the most translated works in world literature." - galing sa Wikipedia
This book was partly published to inform the Filipino public of the versatility of clay as a medium in art and its economic potential as well. The author's intention is also to reveal the "truths" of her life as an artist and her struggle to survive economically and for her works to be accepted in a very competitive world of visual art worldwide. It is a story of success.
